Ashvarya: Chapter 3: Adolphe Appia(Brayshaw and Witts are Compilers)

Brayshaw Teresa and Noel Witts. The Twentieth-Century Performance Reader 3rd ed. London:Routledge ,2014. 27-30. Print.

The body is alive, mobile and plastic. Space and the objects used by the body must most carefully take this fact into account. The overall arrangement of the setting comes just after the actor in importance: it is through it that the actor makes contact with and assumes reality within the scenic space. (Appia, 27) The two essential elements of the stage are the actors along with the arragement of the stage setting. In Beyonce’s visual album Lemonade, the actors and the space represent various stages of grief, resurrection, black female empowerment.

…In order to grant to it the status of a medium of dramatic expression it must be placed in the service of…the actor who is above it in the production hirearchy, and in the service of the dramatic expression of the actor (Appia, 27) Light plays an impotant role in any visual. Light has been experimented with and represents the lush imagery from vignette to vignette.

Light creates shadows, make them living and spread the harmony of their vibrations and space just as music does. In light we possess a most powerful means of expression through space, if this space is placed in service of the actor. (Appia,27) Use of lighting not only enhances the role of the space and the actor but also creates an impact on the audience.

Light creates the back-cloths (which have to be seen), without a care of the actor, who endures the ultimate humiliation of moving between painted flats, standing on an horizontal floor. (Appia,28) In proscenium theater or even at a production house, the actor has to adjust to the lighting. It is never the other way round.

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